Nritya, Nritta and Natya_A very important concept in dance

A dancer needs to be equipped with different aspects of Abhinaya. While it is absolutely impossible to teach someone how to act, techniques of acting or abhinaya can definitely be induced in an actor. Practice with proper discipline over the period of time will ensure that the student can master these concepts.

Nritta is the first step towards the bigger picture. This includes only the physical movements in accordance to the specific style of the dance performed. This alone cannot evoke emotions. This is only the Angik Abhinaya.

Nritya is probably the second stage of Abhinya. This is basically the combination of Bhava and Rasas. This includes the Angik, Swatwik and Aharya Abhinaya.

Natya in sanskrit actually means drama. This has all the four types of Abhinaya - Angik, Vachik, Aharyam and Swatwik Abhinaya.

Angikam Bhuvanam Yasya Vachikam Sarvavamayam
Aharyam Chandra Taraaditam Namaham Satvikam Shivam

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Angalakshana Part 1 - Anga Pratyanga & Upanga

The science of dance was extremely well developed in ancient India. The word Angalakshana refers to the way of moving the body parts. In order to understand the concept and to perform Angalakshana, one has to understand and practice the categorization of the human body. Types of Angalakshanam are written below. We will in-turn look at each of the Angalakshana in detail. Each and every student had to understand and practice this on a daily basis. Only after the mastering these, the Gurus would move towards teaching the students the dance numbers. Anga Pratyanga Upanga As per ancient Hindu practices, a human body or Sharera is taken as an inverted tree where the roots are at the top rather than at the bottom. Both Charaka Samhita and Sushrut Samhita (the first known book on medicines written by Sushrut around 400 BC) talks about dividing the human body into 3 main divisions viz. Anga, Upanga and Pratyanga. Charaka also proved the co relation of spirituality and physical health c

Hasta Mudra (Hand Gestures) Part 3 - Deva Hasta

Deva Mudras are an integral part of learning Indian Classical dance. These mudras are taught at a very early age to the students in order to achieve fluency. Abhinayadarpana talks about deva hastas. These hastas are not only used in depicting Gods and Goddessess during a play or dance, it is also used for sculptures of these deities. Natyashastra talks about how to decorate the stage. Bharata also talks about which corner/ side of stage belongs to which God. This concept is extensively used in Vastu Shastra and Agama Shastra. These are called Deva Hastas and AshtaDikpal Hastas. Sl No. Deity Right Left 1. Bhrama Hamsasya (Chest Level) Chaturam (Facing Upward, chest level) 2. Vishnu Tripataka at waist level Tripataka at waist level 3. Shiva Tripataka (at the side of the ear) Simhamukham ((at the side of the ear) 4.

Natya Shasatra _Slokas

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Hasta Mudra (Hand Gestures) Part 12 - Jaati Hasta or Varna Hastas

Since Pre - historic times, Indian society had a complex, inter- dependent and co operative political economy where each individual had a specific role to play in uplifting the society and human welfare. The caste system in ancient India was followed with precise order and instructions. One can go on and on about the intricacies of the Caste System in India. Many research in modern times have been conducted on the caste systems. For centuries, caste dictated each and every aspect of Hindu life with each group occupying a specific place in the complex hierarchy. Earliest mention of the caste system in ancient India can be found in Manusanhita (1000 years before Christ), a book written by King Manu who ruled South India and have said to migrated to North India. Jaati Hastas are very common in Indian classical dance compositions. While composing a dance drama it becomes very important to depict the characters with the help of these Hastas. These hastas in co ordination of the body

Angalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement

Drishthi in Sanskrit literary meaning “Vision”. In relation to our eyes it means “sight” or “to see”. The classification of these eye movements are based on how we move the eye balls. In fact we use each of them in our every day routine. Just a matter of identifying with their names. There are eight types of Eye movements given in Natyashastras. 1. S ama : Eye kept still without any movement,Eveness of eye where the eyes are kept still. Usage : Depicting GOD,peace, pride 2. Alokita : Rolling your eye balls in a circular pattern. Usage : Showing fear. 3. Saachi : Looking through the corner of the eyes. Usage : Looking at rivals, competitors, showing shyness. 4. Pralokita : moving your eyes side to side. Usage : taking a peak on someone. 5. Nimilita : It looks like a half shut eye. Here one tries to focus the eye ball towards the heart. Usage : Meditation, sages, showing the meditative state of Gods, Peace 6. Ullokita : Looking upwards. Usage : Showing sky, God,

Hasta Mudra (Hand Gestures) Part 5 - Bandhava Hasta

Bandhava Hasta means the hand gestures that reflects the relationship. These are very important for dance compositions. These are also known as Bandhu Hastas. As per Abhinaya Darpana There are 11 Bandhava Hastas. They are as follow Dampati Hasta : It means married couples.This is denoted with Shikhara in left and Mrigashisya in right hand. Matru : Matru or mother is depicted by holding Ardhachandra in left hand near stomach(turned over) and Samdamsam in right hand. Pitru : Pitru or father is depicted by holding Ardhachandra held near stomach in the left hand and Shikhara in the right hand Sodra : Sodara means Brother. Elder brother is depicted by Myura is both the hands in front of the belly. Younger brother is shown by Mayura hands on both the sides. Putra : Putra or Son is depicted by Shikhara in left and Samdam in right held near the belly and then moved in a circular way. Snusha : Means Daughter -in - law and is depicted by showing Putra hasta and then Mrigashi

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